Chanel/Vionnet Smackdown!

14
The book "Madeleine Vionnet" by Betty Kirke

The book “Madeleine Vionnet” by Betty Kirke

Are you ready to rrrrrumble?!? This post looks at who’s cooler, Coco Chanel or Madeleine Vionnet. Chanel is still in the public eye due to intense marketing by the modern company that bears her name, as well as the numerous books about her highly dramatic life.

But I’d argue that one of Chanel’s design contemporaries in the 20s and 30s, Madeleine Vionnet, was every bit of a maverick. She perfected the bias cut, inspired countless designers (including my current girl-crush, Claire McCardell), and yet was a much more decent and mature human being.

As  Chanel references for the smackdown, I’m using my faulty memory of a number of books either glorifying or trashing “Mademoiselle” Coco, the chain-smoking party girl who basically made it possible for women to wear comfortable clothes, become enlightened, go to work, and then stress out about having it all. Thanks, hon.

I’ll admit that I’m cribbing a number of points from a review (by The Vintage Traveler blog) of a book about Chanel positing that not only did Chanel have a Nazi lover during WWII, but she was also a spy. Here’s a link to that review, and Lizzie, thank you again for reading a book so I don’t have to:

http://thevintagetraveler.wordpress.com/2013/10/19/currently-reading-sleeping-with-the-enemy-coco-chanels-secret-war/

As my reference for Vionnet, I’m using one of the sewing/vintage fashion world’s most fabulous books, “Madeleine Vionnet” by Betty Kirke. This book should either be put on your coffee table or Christmas list immediately. Here’s the link on Amazon:

http://www.amazon.com/Madeleine-Vionnet-Betty-Kirke/dp/1452110697/ref=sr_1_1?s=books&ie=UTF8&qid=1386857010&sr=1-1&keywords=vionnet

Originally published in 1991, this cult classic is filled with pictures of Vionnet’s groundbreaking bias-cut gowns, and it includes drawings of the pattern pieces, meticulously researched by the author. The text is a complete history of Vionnet, her philosophy, her methods of construction, her inspirations, her company. All I have to say to Betty Kirke, author of this excellent tome, is “you rock”. Here’s a peek inside:

image

Smackdown point #1:

Who was better to her workers?

Coco Chanel had a bitter labor dispute with her workers in the 30s that she lost. Rumor has it that she shut down her atelier during World War II to get back at them, putting 3,000 people out of work.

Madeleine Vionnet, on the other hand, remembering her exploitive treatment at couture houses as a girl, was the first to offer her workers coffee breaks, paid vacation, maternity leave, and the opportunity to advance in the company. During vacations her employees were welcome to come hang out with her at her villa in the south of France. Score 1 Vionnet.

Smackdown point #2:

Who was riding out WWII shacking up with a Nazi in the Paris Ritz? And sleeping with just about everybody else the rest of the time? I have to admit I’ve given that a lot of thought while hand-stitching the Chanel jackets I’ve made.

Meanwhile, Vionnet was caring for her father in a little garden apartment until his death in 1922. After that, she married a man 18 years younger and their relationship was a happy one in the early years at least. You go girl.

Smackdown point #3:

Whose clothing from the 30s would I been seen in walking down the street in now?

Well, unless I’m going to a toga party, I’d be more comfortable wearing a 30s Chanel suit than a floaty bias-cut gown. I’ll give you that one, Coco. However, I have made a bias-cut scarf from a pattern in the Vionnet book that’s very jaunty, and I have been wearing it to death.

Smackdown point #4:

Whose clothing from the 30s would I wear to the Oscars? Though Chanel did create a number of lovely gowns in that era, the hands-down winner is Vionnet, whose bias-cut confections were architectural works of art. Also, because they’re cut on the bias, they have more give, so you can gain a few pounds and still get in them.

And the winner is…

I’ll admit, it’s splitting hairs. They both got women out of corsets and into the modern world. They both were innovators in manipulating fabric for soft structure. They both were geniuses who inspired generations of designers. And they represent the “yin and yang” of modern woman–the unconscionable control freak vs. the mature mentor.

Here’s a photo of Deepika, founder and fearless leader of patternreview.com, modeling a Vionnet scarf that I made:

Deepika in Vionnet Scarf

She looked so cute, I just had to hand it over to her. In my next post, I’ll be writing about how I made this scarf using drawings from the Vionnet book and instructions from this Japanese pattern book:

image

It’s an easy and fun project.

Who do you think wins the smackdown? Chanel or Vionnet? Leave a comment and let me know. And I’m always interested in hearing about your projects! Thanks for stopping by.

I’m tired of Coco, how about you?

10

Okay, here are a few last details of the construction of Chanel Jacket #4 that I’d like to add before moving onto my next, much more fun topic, a Coco Chanel vs. Madame Vionnet Smackdown! Are you working on a Chanel-style jacket right now? If so, leave me a comment; I’d love to hear about it.

1962 Chanel pattern released by Spadea

1962 Chanel pattern released by Spadea

As I mentioned before, this Spadea Chanel pattern from 1962 was drafted from a retail jacket, the design of which was licensed from Chanel by the US company Suzy Perette. This was a common practice back in the days before off-shore manufacturing. In fact, the pink suit worn by Jacqueline Kennedy on the tragic day of the assassination, though often attributed to Chanel, was actually a copy made in a New York haute couture boutique. Here’s a story about the historic preservation of that suit from the New York Times:

http://www.nytimes.com/2013/11/15/fashion/jacqueline-kennedys-smart-pink-suit-preserved-in-memory-and-kept-out-of-view.html?smid=pl-share

The instructions from the 1962 Spadea Chanel pattern I used were very thorough and old school in terms of construction. Though I had never made welt pockets before, by following the instructions they were a breeze.

Pocket welts

Pocket welts

I created the flaps, attached the pockets, sewed up the side panel seam, and voila, a pretty little pocket made of colorful lining. Though Chanel jackets don’t typically have vertical pockets like this, I have seen examples from this era.

Completed welt pockets

Welt pocket in progress

Let’s talk about the obsession with 3-part sleeves, shall we? The two godmothers of haute couture, Susan Khalje and Claire Shaeffer, both have their disciples make 3-part sleeves for their home-made Chanel jackets, so the sleeve has a graceful bend at the elbow and the vent is high enough on the cuff to show off the trim and buttons.

But the truth is, not all Chanel jackets have had three-part sleeves. In Claire Shaeffer’s new book, for example, she shows several vintage Chanel jackets with two-part sleeves. The Spadea pattern I used cleverly fakes the three-part sleeve with a one-part sleeve by putting some ease in the seam to give it the bend at the elbow. Then the vent is added by cutting a slash in the sleeve and adding a facing that goes around the cuff.

Sleeve facing

Sleeve facing

Whether this is the original Chanel design, or a change made by Suzy Perette for US manufacturing, we’ll never know. But it does work pretty well. It’s still time-consuming, but probably not as much of a hassle as building a three-part sleeve.

My last comment on the sleeve is that I added sleevehead under the sleeve cap and then steamed it on a sleeveboard like this, to give the sleeve cap a nice, round shape.

Shaping sleeve cap

Shaping sleeve cap

After lining the jacket, I added the trim, chain (cleverly woven into a 5/8″ tape–much easier to sew on), buttons, and button loops, then collapsed.

Finished cuff and chain

Finished cuff and chain

My blog has been visited by people from around the world and I appreciate you all. Even the spammer guy from Korea! What projects are you working on? Please leave me a comment and let me know.

Curse you, Coco.

2

coco_chanel_14_V_16jul09_chanel_pr_b_426x639Chanel best look

Here’s our Coco, dressed in an early version of her revolutionary suit in the 20s, then again in the classic 60s version. Love her or hate her, she set the tone for how powerful women dressed for a century. Her basic jacket, top and skirt became a high class, comfortable signifier for every upscale woman who needed to walk into a room with confidence, long before women were supposed to do that.
For people who sew, making a Chanel jacket has become something of a Holy Grail. Traditionally, the jackets are make from a loosely-woven boucle or tweed that unravels with the slightest touch. Rather than traditional padded tailoring, the jackets are made by quilting the wool directly to a silk lining, making them maleable and light, like a sweater, yet more structured. The high, tight armholes allow freedom of movement but require numerous fittings. Much of the jacket is hand-sewn to give it a mysterious haute couture simplicity. Tacking on the famous chain weight at the bottom can take hours. The trim can take days. To buy an haute couture (made-to-measure) version can cost upwards of 40,000 Euros–more than $50,000. Making one of these jackets, which take 70 to 100 hours of labor, is tedious and maddening.
So how did I end up making four different Chanel jackets, in a variety of vintage styles, using four different construction methods, in less than 18 months?
Curse you, Coco.